Über die Autorinnen und Autoren

Frank Kessler is Professor of Film History at Utrecht University and one of the founders and editors of KINtop: Jahrbuch zur Erforschung des frühen Films. He is the president of Domitor, an international association for research on early cinema.

Nanna Verhoeff is Assistant Professor in the Department for Media and Culture Studies at Utrecht University, the Netherlands. She is author of The West in Early Cinema: After the Beginning.

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Networks of Entertainment: Early Film Distribution 1895–1915

John Libbey Publishing Ltd.

Contents

Introduction Distribution – preliminary notes Frank Kessler, 1, 
PART I NETWORKS: Distribution across borders, 5, 
Chapter 1 Rethinking Boundaries. The first moving images between Spain and Portugal Begoña Soto, 7, 
Chapter 2 What imports may not be able to tell us about the emergence of the last-minute rescue narrative in the American cinema David Levy, 16, 
Chapter 3 'Avoid giving wine to children': George Kleine's correspondence with Cines and the discourse of uplift John P. Welle, 21, 
Chapter 4 Film colour and national cinema before WWI: Pathécolor in the United States and Great Britain Charles O'Brien, 30, 
PART II NETWORKS: Regional distribution and the problem of the national, 39, 
Chapter 5 La distribution dans la région Lyonnaise: entre spécificités locales et stratégies nationales (1908–1914) Renaud Chaplain, 41, 
Chapter 6 Une diffusion "nationale"? De la circulation d'images locales ou nationales à Lausanne 1896–1914 Pierre-Emmanuel Jaques, 47, 
Chapter 7 De l'indépendance à l'absorption : le cas québécois Pierre Véronneau, 57, 
Chapter 8 Araignées et mouches : la formation du « système cinéma » et les débuts de la distribution cinématographique en Espagne, 1906–1921 Luis Alonso García, 68, 
Chapter 9 Censorship and film distribution in Russia: 1908–1914 Rashit M. Yangirov, 77, 
Chapter 10 The "backbone" of the business: Scanning signs of US film distribution in the newspapers, 1911–1914 Richard Abel, 85, 
Chapter 11 Mapping the moving picture world: distribution in the United States circa 1915 Gregory A. Waller, 94, 
PART III NETWORKS: Local actors, 103, 
Chapter 12 'Mr. Elliot Books Chaplins Direct': Essanay's Exclusive's Strategy in Southampton 1915 Michael Hammond, 105, 
Chapter 13 "Zeppelin über Berlin" – on the distribution of an early media event Pelle Snickars, 113, 
Chapter 14 "The Audience Feels rather at Home ...": Peter Marzen's 'Localisation' of Film Exhibition in Trier Martin Loiperdinger, 123, 
Chapter 15 Local distribution: The case of Jens Christian Gundersen in Norway Gunnar Iversen, 131, 
Chapter 16 Infrastructure, open system and the take-off phase. Jean Desmet as a case for early distribution in the Netherlands Ivo Blom, 137, 
PART IV PRACTICES: Distribution strategies, 145, 
Chapter 17 Politics, steam and scopes; marketing the Biograph Paul C. Spehr, 147, 
Chapter 18 The price of independence: The Rolin Film Company's quest for distribution Richard Ward, 157, 
Chapter 19 Distribution sérielle et synchronisation du spectateur aux premiers temps du cinema Nicolas Dulac, 167, 
Chapter 20 Monopolizing episodic adventures: series and seriality in Germany, 1914–20 Rudmer Canjels, 180, 
PART V PRACTICES: Distribution paratexts, 191, 
Chapter 21 Les consignes de l'«éditeur» pour l'assemblage des vues dans les catalogues de distribution Pierre Chemartin et André Gaudreault, 193, 
Chapter 22 Cataloging contingency Jonathan Auerbach, 203, 
Chapter 23 Comparing catalogues Ian Christie, 209, 
Chapter 24 "As pleasing as it is incomprehensible": film catalogues as paratext Marta Braun and Charlie Keil, 218, 
Chapter 25 "Liste für gebrauchte Films zum Verkauf": Used Films for Sale in Germany and Austro-Hungary (1911–13) Janelle Blankenship, 223, 
PART VI PRACTICES: Non-theatrical distribution, 233, 
Chapter 26 Sunday and Holy Days Tony Fletcher, 235, 
Chapter 27 Local entertainment and national patriotism: the distribution of colonial films in Early German cinema Wolfgang Fuhrmann, 246, 
Chapter 28 Early forms of film distribution in Germany, 1896–1905 Joseph Garncarz, 255, 
Chapter 29 'Just like a Public Library maintained for public welfare': 28mm as a comprehensive service strategy for non-theatrical clientele, 1912–23 Anke Mebold, 260, 
Chapter 30 Bringing movies into the home: distribution strategies for 17.5 mm film (1903–08) Martina Roepke, 275, 
PART VII PRACTICES: Distribution into the future, 283, 
Chapter 31 'Avant-guerre' and the international avant-garde. Circulation and programming of early films in the European avant-garde programs in the 1920s and 1930s Ansje van Beusekom, 285, 
Chapter 32 The imagination of wireless distribution Wanda Strauven, 295, 
Chapter 33 Les films impossibles ou les possibilités du cinema Viva Paci, 304, 
Chapter 34 Any ID? Building a database out of the Jean Desmet archive Rixt Jonkman, 312, 
Chapter 35 Des fragments des premiers temps à l'esthétique de la ruine André Habib, 320, 
Conclusion Distribuer les films ou distribuer les rôles? François Jost, 327, 
Afterthoughts Beyond distribution: some thoughts on the future of archival films Giovanna Fossati and Nanna Verhoeff, 331, 
The Authors, 343,